CHICAGO—With the kind of delicious, romantic music that you can feel down your spine, “Madama Butterfly” is such a stunning opera that even with a director’s added twist, it can’t be dampened. The glory of Giacomo Puccini’s masterpiece rings eternal. That’s the case with the reimagined “Butterfly” presentation at Chicago’s Lyric Opera of Chicago.
With an Italian libretto by Luigi Illica and Giuseepe Giacosa, the dramatic plot of “Butterfly,” which premiered in Milan’s La Scala opera house in 1904, remains the same. Adapted by David Belasco into a play (1900) from a short story by John Luther Long (1898), the opera is about a young Japanese geisha, Cio Cio San, who falls in love with American naval officer Lt. Pinkerton.
Pinkerton marries the lovestruck young woman but doesn’t consider it a real marriage. He returns home to marry an American, while the young Japanese geisha remains loyal waiting for his return.
Suzuki (Nozomi Kato, L) grieves with Cio-Cio-San (Karah Son), in “Madama Butterfly.” (Todd Rosenberg)While the plot is faithful to the original story, director Matthew Ozawa has given the opera a new perspective. In his version, the opera begins in a fantasy world in which Pinkerton puts on a virtual reality headset that throws him into what appears to be a hallucination. That artificial simulation comes across with bright colors, flashing lights, and the start to Puccini’s lush musical score. It’s as if the stage has been transformed into a fictional realm in which the world of video games and the world of opera collide.
Throughout, Pinkerton slips into a VR headset. It’s used as a structural framing device to transition from act to act. Pinkerton moves back and forth from fantasy to reality. Soon he, wonders whether he was just imagining Butterfly.
Pinkerton (Evan LeRoy Johnson) starts having trouble telling the real world from the virtual reality in his headset, in “Madama Butterfly.” (Todd Rosenberg)A Worthy Effort
The production, co-produced by the Cincinnati Opera, Pittsburg Opera, Detroit Opera, and the Utah Opera is an attempt at bringing the classic Butterfly into a present-day format. It’s a contemporary vision of a venerable musical that may be intriguing and interesting to some. Even so, it doesn’t add to the original. Fortunately, the musical sweep of Butterfly is so intoxicating that nothing can take away from its breathtaking emotion.
The company of “Madama Butterfly.” (Todd Rosenberg)Part of the action takes place in a contemporary apartment that opens into a traditional Japanese home designed by Kimie Nishikawa of dots collective. The action then switches to an American space decorated with Japanese paintings. The large red sun backdrop is illuminated by Yuki Nakase Link’s lighting design.
While the stagecraft is colorful and whimsical, it appears a bit constrictive. The Lyric has a large stage, much of which isn’t used because the bedroom area has too much crammed-together furniture. While Maiko Matsushima’s costumes were interesting, they were over-the-top, like Pinkerton’s too large-for-his-frame suit.
Yet the saving grace to this production is the Lyric’s orchestration of Puccini’s irresistible arias. With musical direction by Domingo Hindoyan, Puccini’s melodies are ravishing. Indeed, the music is so delicious that you want to close your eyes and let the glorious notes wash over you.
Yamadori (Sihao Hu, L) and Sharpless (Zachary Nelson) don’t have Cio-Cio-San’s best interests at heart, in “Madama Butterfly.” (Todd Rosenberg)The production stands out because of terrific performances. Karah Son as Cio-Cio-San soars with a dazzling soprano, especially when she hits the high C in “Un bel di” and “Vogliatemi bene.” The approach to Cio-Cio character is also modern: She went from an innocent young bride to a furious raging woman when she discovers Pinkerton’s betrayal.
As Pinkeron, tenor Evan LeRoy Johnson has great chemistry with Karah Son. In addition, baritone Zachary Nelson delivers a nice turn as Sharpless, the matchmaker who brings the doomed lovers together. Mezzo-soprano Nozomi Kato well portrays Suzuki, Cio-Cio-San’s devoted servant.
Whether one loves the classic version of the dazzling popular opera or appreciates a new visionary angle, this “Madama Butterfly” will enchant everybody.
‘Madama Butterfly’
The Lyric Opera of Chicago
20 N. Wacker Drive, Chicago
Tickets: 312-827-5600 or LyricOpera.org
Runs: 2 hours, 55 minutes (one intermission)
Closes: April 12, 2026
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